Hello. You forget to put the answer options. The options are:
A. It shows the main character's inability to see his flaw. B. It shows the main characters reuniting in happy terms. C. Leontes regrets his poor judgment and is pardoned. D. The main characters are honest and worthy of riches.
Answer:
B. It shows the main characters reuniting in happy terms.
Explanation:
Shakespeare's comedies have a happy ending, where the main character finds himself in a moment of comfort and happiness. This was because during the comedies, Shakespeare wanted the audience to have access to a fun story that would make the whole audience happy with the resolution.
We can see that the story shown above is a comedy, because the main character has been reunited with his family.
Answer:
GIve me more information if this question is lacking detail but I don't know what "the excerpt" is.
Explanation:
For something to be groundbreaking, or revolutionary I believe that it should advance humanity in the proper direction. The light bulb for example was a revolutionary invention. The definition of these two terms are as follows: "involving or causing a complete or dramatic change" and "breaking new ground; innovative; pioneering."
Answer: C
Explanation: Clan rhymes with Ran, so AA
See rhymes with Lee, BB
War rhymes with Lochinvar, CC
<h3>i believe its D. Watch reruns during the summer</h3>
In an essay published in 1961, Robert Kelly coined the term "deep image" in reference to a new movement in American poetry. Ironically, the term grew in popularity despite the critical disapproval of it by the group's leading theorist and spokesperson, Robert Bly. Speaking with Ekbert Faas in 1974, Bly explains that the term deep image "suggests a geographical location in the psyche," rather than, as Bly prefers, a notion of the poetic image which involves psychic energy and movement (TM 259).1 In a later interview, Bly states:
Let's imagine a poem as if it were an animal. When animals run, they have considerable flowing rhythms. Also they have bodies. An image is simply a body where psychic energy is free to move around. Psychic energy can't move well in a non-image statement. (180)
Such vague and metaphorical theoretical statements are characteristic of Bly, who seems reluctant to speak about technique in conventional terms. Although the group's poetry is based on the image, nowhere has Bly set down a clear definition of the image or anything resembling a manifesto of technique. And unlike other "upstart" groups writing in the shadow of Pound and Eliot, the deep image poets-including Bly, Louis Simpson, William Stafford, and James Wright-lacked the equivalent of the Black Mountain group's "Projective Verse," or even, as in the Beats' "Howl," a central important poem which critics could use as a common point of reference. This essay, then, attempts to shed some light on the mystery surrounding the deep image aesthetic. It traces the theory and practice of Robert Bly's poetic image through the greater part of his literary career thus far.
